DEGREE PROJECT Kharaad Explorations in Birch Ply turning Sponsor : Studio Chisel, Hyderabad
Volume : 1of 1 STUDENT : RHITUJA DHARAMDAS SHENDE PROGRAMME : Bachelors of Design (B. Des)
GUIDE : PRAVINSINH SOLANKI
2019 INDUSTRIAL DESIGN FACULTY (FURNITURE AND INTERIOR DESIGN)
The Evaluation Jury recommends RHITUJA DHARAMDAS SHENDE for the
Degree of the National Institute of Design IN INDUSTRIAL DESIGN (FURNITURE AND INTERIOR DESIGN)
herewith, for the project titled "KHARAAD: EXPLORATIONS IN BIRCH PLY TURNING" on fulfilling the further requirements by*
Chairman Members :
Jury Grade : *Subsequent remarks regarding fulfilling the requirements : This Project has been completed in ________________ weeks.
Activity Chairperson, Education
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COPYRIGHT STATEMENT I hereby grant the National Institute of Design the right to archive and to make available my graduation project/ thesis/ dissertation in whole or in part in the Institute’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material.
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ORIGINALITY STATEMENT I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or final graduation of any other educational institution, except where due acknowledgment is made in this graduation project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgment. I further declare that the intellectual content of this graduation project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. Hi graduation project (or part of it) was not and will not be submitted as assessed work i n any other academic course.
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Copyright Š 2019 Student document publication meant for private circulation only. All rights reserved. No part of this document can be reproduced or transmitted in any form or any form by any means electronically or mechanically including photocopying, xerography, photography or video recording without the written permission from the publisher Rhituja Shende and the National Institute of Design, Ahmedabad, India. Images used in this document which are not original creations have been duly accredited within the document. Designed and edited by: Rhituja Shende rhitujas@gmail.com Processed and published in Ahmedabad.
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KHARAAD Rhituja Shende | Graduation Project | Kharaad | 7
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CONTENTS PREFACE
11
IDEATION
64
ACKNOWLEDGMENT
13
PRODUCT DEVELOPMENT
99
INTRODUCTION
15
CONCLUSION
National Institute of Design Furniture & Interior Design
SYNOPSIS
18
PRELIMINARIES
22
158
Experience Image Credits Bibliography Webography Fonts
About the Studio Furniture market in Hyderabad Competitors Studio’s approach Market Analysis (Existing products) Customer Segment (User persona) Customer relation (how it sells) Way forward?
PROJECT
39
Methodology Time line Integration into the studio Proposal The material The process of turning
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PREFACE NID offers professional education programmes at Bachelors and Masters level with five faculty streams and 20 diverse design domains.NID has established exchange programmes and ongoing pedagogic relationships with more than 55 overseas institutions. NID has also been playing a significant role in promoting design. Having entered the 6th decade of design excellence, NID has been active as an autonomous institute under the aegis of the Department of Industrial Policy & Promotion,Ministry of Commerce & Industry, Government of India; in education,applied research, service and advanced training in five faculty streams,Industrial Design, Communication Design, Textile, Apparel & Lifestyle Design, IT Integrated (Experiential) Design and Interdisciplinary Design Studies. NID offers a wide spectrum of design domains while encouraging transdisciplinary design projects.NID is a unique institution with many problem-solving capabilities, depths of intellect and a time-tested creative educational culture in promoting design competencies and setting standards of design education. The rigorous development of the designer’s skills and knowledge through a process of ‘hands onminds on’ is what makes the difference. The overall structure of NID’s programme is a combination of theory, skills, design projects and field experiences supported by cutting edge design studios, skill & innovation labs and the Knowledge Management Centre. Sponsored design projects are brought into the classroom to provide professional experience.Interdisciplinary design studies in Science and Liberal Arts widen the students’ horizons and increase general awareness of contemporary issues.
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ACKNOWLEDGMENTS Foremost I would like to thank Aditya Somway, my boss and my mentor for giving me the opportunity to work with Studio Chisel. I am thankful for his constant mentorship, patience, approachability and guidance. I extend my gratitude to my guide, Pravinsinh Solanki for his encouragement and guidance throughtout the project. To L. C. Ujawane for inspiring to look into the minutest details and Rama Rao for motivating to push our boundaries. It was a great privilege and honor to work and study under all of their guidance. I am sincerely thankful to Bansilal ji, Rakesh ji, Ahmed ji, Raju bhai, Hussain ji, Rajan ji, Madhu and all other artisans at the workshop, for helping materialize the design idea into beautiful products. A big thanks to the coolest colleagues, Kunica, Tanusha, Amulya, Vinay, Sharanya, Pratyusha for all the fun lunch discussions and making me look forward to coming to office everyday. A big shout out to the FD UG ‘15 batch for all the entertainment throughout these three years. A special thanks to Devshree, Kanu and Shubhangi without whom this NID journey would not have been possible and for their constant love, motivation and support. My indebtedness to my parents and family for always supporting me through everything and constantly inspiring me to become a better version of myself. I am extremely grateful for their love, prayers, caring and sacrifices for educating and preparing me for my future. I am overwhelmed in all humbleness and gratefulness to acknowledge my depth to all those who have helped me directly or indirectly to put these ideas well above the level of simplicity and into something concrete. I hereby thank all the members of NID for their cooperation.
Thank you all! Rhituja Shende | Graduation Project | Kharaad | 13
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National Institute of Design The establishment of the National Institute of Design was a result of several forces, both global and local. On April 7, 1958, Charles and Ray Eames presented the India Report to the Government of India. The Eames Report defined the underlying spirit that would lead to the founding of NID and beginning of design education in India. The Report recommended a problem-solving design consciousness that linked learning with actual experience and suggested that the designer could be a bridge between tradition and modernity. The Report called upon future designers to reexamine the alternatives of growth available to the country at that time. Based on the recommendations made in the India Report, the Government of India with the assistance of the Ford Foundation and the Sarabhai family established the National Institute of Industrial Design, as it was originally called as an autonomous all-India body in September 1961 at Ahmedabad. Left: NID Ahmedabad, Evan Chakroff, Flickr Rhituja Shende | Graduation Project | Kharaad | 15
Batch of 2015
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Furniture & Interior Design
P Ramakrishna Rao Discipline Lead, FID
Pravinsinh Solanki Faculty, FID
L. C. Ujawane Advisor, FID
The Discipline of Furniture and Interior Design deals with the creation and evolution of objects, structures and systems at human scale that aim to improve the quality of life in the immediate living and working environment, while looking at sustainable and innovative use of diverse materials and processes. It believes in a broad and interdisciplinary attitude for enriching the design activity and draws from experiences of Industrial and Environmental Design professions. The programme provides an integrated approach to the design of furniture and interior objects and systems as part of one’s living and working habitat, while striving to redefine the boundaries of such elements with a systems perspective. The programme aims to educate designers to handle all aspects of furniture design as one integrated user centric area of study; and their ability to integrate all such elements and systems into coherent wholes in various interior spatial contexts is considered to be important. Special emphasis is placed on the ability to develop self-made prototypes in order to test human and functional factors v/s aesthetics and use of materials. The Furniture and Interior Design discipline encourages the students to develop a strong foundation of basics, which facilitates anticipation of the future. The institute achieves this purpose through a diverse pool of faculty who bring academic knowledge and work experience to their instruction.
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Synopsis The furniture market is filling up to the brim. From wooden, metal, plastic to refurbished, Indian, Scandinavian; one gets to see all kinds of pieces. Sitting idly, wrapped in plastic; what renders an identity to each of these pieces? Apart from the design concept, the material used and the manufacturing process play a significant part in lending character to the product. Manufacturing processes represent the main shape generating methods such as casting, molding, forming and material removal processes. It is a set of phases through which raw materials are transformed into a final product. It begins with the product design and material specification after which the materials are then modified to become any required part. Implementing a process is a critical factor in creating a long-term competitive advantage for the host organization. Requirements of the facilities and processes and associated costs are also identified during manufacturing to enable building production units according to the requirements of volume, time, and safety. Wood Turning is one such process of the furniture making industry. Traditionally used in creating handicrafts or intricate designs, the nature of this operation is limiting with regards to explorations in forms and sizes. This project strives to understand and implement this traditional practice to befit the growing contemporary market demand.
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Being a comparatively young design setup, Studio Chisel looks forward to scale up their design service in the furniture industry. Following a material driven process, all their products have their own visual identity, defined by their manufacturing process. Tracing the studio’s love to explore material and processes, this graduation project is an attempt to develop furniture pieces along the same lines. It aims to introduce a new identity in the studio’s existing narrative, enhancing its retail presence, especially in the target market of Hyderabad. A product range consisting of a set of dining chair and table, an accent chair and a lounge chair were developed.
“ The studio views each and every product as a journey and strives to innovate whilst always enjoying the process.� -Studio Chisel
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PRELIMINARIES • About the Studio • Furniture market in Hyderabad • Competitors • Studio’s approach • Market Analysis (Existing products) • Customer Segment (User persona) • Customer relation (how it sells) • Way forward?
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Sponsor Studio Chisel, Hyderabad Studio Chisel is a design consultancy specializing in furniture, industrial and space design. Chisel’s material driven design process consistently strives to push creative boundaries with design and manufacturing. Alongside creating their own range of products and working with collaborators on bespoke design pieces; they offer prototyping and small batch manufacturing services out of their workshop and also large-scale manufacturing assistance through a network of associates. Founded in 2016 by Aditya Somway, the studio has a small team of designers and a small in-house manufacturing set up in Hyderabad. The studio conforms to values of simplicity, perfection and collaboration. As an industrial design company, the organization is process-centered and focuses on hands on exploration than just the final outcome. Rapid first-stage prototyping, followed by constant evaluation of the manufacturing process is adopted into Chisel’s design methodology helping it observe a single design from various perspectives. Fig 1: Studio Chisel, Hyderabad
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Fig 2: The artisans at the studio’s workshop
“ We care deeply about making things that are authentic and making them well. We call ourselves Chisel because the things that we make with, make us” -Studio Chisel
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The City of Nizams: FURNITURE MARKET IN HYDERABAD
Like a coin, the city of Hyderabad effortlessly balances its old traditions along with paving way for technological development. It gracefully embodied globalization whilst retaining its rich Islamic culture. This ‘City of Nizams’ makes India proud with a plethora of rich cuisines, architecture and handicrafts. From the famous Hyderabadi biryani, architectural marvels like Charminar and the Golconda fort to the intricate Bidriware, Kalamkari and colorful Etikoppaka, they all stand as testaments to the city’s glorious history. As a designer, one can simply not get enough of the art and craft that the city has to offer.
Like other cities, the furniture market in Hyderabad can be broadly classified into the following three groups based on type of furniture:
Unorganized market Customized Furniture Showroom Brands The above categories cater to customers from the lowest segment to the upper middle classes. Besides these, there are other high end furniture brands like Elevate, Plüsch, SCASA, etc that sell Italian luxury designs.
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Fig 3: Charminaar, Hyderabad
Categorization of the Market
Fig 4: Nampally furniture market, Hyderabad
Fig 5: NSQUARE Design, Hyderabad
Fig 6: IKEA Store, Hyderabad
UNORGANISED MARKET
CUSTOMIZED FURNITURE
SHOWROOM BRANDS
The Nampally furniture market is the go-to place for Hyderabadis who wish to buy affordable furniture but are not too keen on the aesthetics. Many of the items sold at the market are refurbished second-hand goods, ranging from chairs to cupboards to divans that come with storage options. Every Sunday the market swells up in size when passable second-hand furniture is sold at prices that depend on your bargaining skills and without a bill.
Hyderabad is a fast growing metropolitan city. More and more people can now afford and demand sumptuous contemporary interiors and housing. The mass-produced, showroom furniture is unable to compliment these interiors. Consequently, the need for handcrafted, bespoke furniture has risen. Studios like NSQAURE STUDIO CHISEL ONE GOOD CHAIR TIMBERCRAFT INHABIT are catering to this segment in Hyderabad. Apart from these, various interior firms and studios also provide product customization.
A majority of the population buys ready-made furniture from bigger showroom brands due to convenience of choosing and buying. Even though these products may not be at par in quality with customized designs, the industrialization of the process lowers the cost as well as making it easier to produce variety. IKEA PEPPERFRY FURNITUREWALLA HOMETOWN BANTIA FURNITURE WOODEN STREET are some such brands in Hyderabad.
The furniture sold at the market is part of the 90% that forms the unorganised furniture market in India. Similar markets can be found throughout Hyderabad especially in areas like Secunderabad and Badichowdi.
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Competitors Though Studio Chisel primarily caters to customers in Hyderabad, there are boutique furniture design set ups all over India which can be studied to understand their functioning. It becomes important to study their target market, marketing strategies, price bracket and their design philosophy and methodology. This not only helps keep up with market trends but also grow by learning from others’ experiences. Nine furniture/ product/ accessory design studios were studied and a comparison chart was prepared. Fig 7: Chisel’s plywood furniture range
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Studio Chisel Location: Hyderabad Marketing: Online, Retail, B2C Product Range: Office furniture, home furniture, interior Average cost: 5,000- 50,000 INR Highlight: Process and material driven designs
Fig 8: Chisel’s product spec sheet (website) Rhituja Shende | Graduation Project | Kharaad | 27
Solid Bench “A tribute to nature, our masterpieces are a celebration of the anisotropy of natural wood. Our furniture emerges out of the form defined by each individual tree we select. Our work incorporates traditional joinery techniques, natural oil finishes and minimalistic designs.” Fig 9: Solid Bench (website)
Studio Wood “With an aim to metamorphose the perception of the Indian design industry, Studio Wood engages itself with diverse materials, techniques and intelligently added quirks to create the most effective, functional and clean products and spaces.” Fig 10: Studio Wood (website)
N Square Studio “Founded out of a passion to create beautiful furniture at affordable prices, we care deeply about quality and design. We believe that well designed furniture can change the way you live. Once you start appreciating good design and craftsmanship then you can never go back.” Fig 11: N Square Studio (website)
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Josmo Studio “Our pieces are a blend of age-old artisanal techniques and new age design. Every piece has been handcrafted by an artisan who has spent years learning and perfecting their art. We are passionate about Indian craft and support artisans by working with them on every product we create.” Fig 12: Josmo Studio (website)
Material Immaterial Studio “We explore the bare beauty of materials like concrete, papier-mâché, wood and brass. Since all the products are handcrafted each piece has its own unique texture and apperance.” Fig 13: Material Immaterial (website)
Borderline Studio “We aim to blur the lines between art, object and funtionality. It reimagines scenarios and brings funtional objects in today’s technology-driven environment. Each product exudes an international appeal, while celebrating Indian workmanship.” Fig 14: Borderline Studio (website)
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Pocho Living “Our emphasis is on a blend of tradition and technology. Each product is made in-house by expert craftsmen and according to craft processes designed to emphasize care for details and finishes. Craftsmanship enhances a product based on state of the art mechanization.” Fig 15: Pocho Living (website)
Tectona Grandis Furniture “Our brand has emerged with a view to introducing sturdy, visually appealing yet very contemporary furniture for current market. It is a reflection of our passion, creating 100% teak wood furniture and products to ensure a strong yet classy finish.” Fig 16: Tectona Grandis (website)
Design Ni Dukaan “We are a craftsmen based studio and work closely with our carpenters and artisans, attempting to revive age old dying techniques and incorporate them into the current context.” Fig 17: Design ni Dukaan (website)
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Studio/ Firm
Solid Bench
Location
Gurgaon
Studio Wood
Delhi
N Square Studio
Hyderabad
Josmo Studio
Mumbai, Goa
Material Immaterial
Mumbai
Marketing Online
Delhi
Pocho Living
Ahmedabad
Tectona Grandis Furniture
Ahmedabad
Design ni Dukaan
Ahmedabad
Average cost INR
Highilght
11,000- 24,000
Close to nature
15,000- 1,80,000
Mixing contrasting materials and forms
Seating, Tables, Storage, Soft accessories
5,000- 10,000
Minimalistic, bland, lightweight, complementary to any ambiance
Seating, Tables, Storage, Lihgitng, Accessories
8,000- 1,86,400
Mixture of sleek and sturdy forms and materials
Seating, Tables, Shelfs
Workshop Online
Seating, Tables, Lighting
Brick & Mortar stores Online Online Brick & Mortar stores Online Brick & Mortar stores
Studio Borderline
Product Range
Brick & Mortar stores
Online
Lighting, Accessories
Seating Tables
Seating, Tables
Brick & Mortar stores Online
Seating, Tables, Beds, Swings
Brick & Mortar stores Online
Seating, Tables, Beds, Swings, Storage
2,000- 50,000
Futuristic/ organic feel and form Patterns, textures and details
18,000- 1,50,000
Statement pieces Eccentric
Price on request
Sleek forms, detail oriented
11,000- 94,000
Textured surface
Price on request
Strong visual identity
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Studio’s Design Process Studio Chisel follows a very hands on process. Since the majority of the projects handled are either consultancy based or bespoke pieces, a significant amount of time is dedicated to full scale prototyping and testing for better understanding the design concept of the particular product. •
Some assignments are extensions of interior projects; in which case the brief is given by the client. Differently, the studio is constantly exploring to stretch material and manufacturing capabilities.
•
Drawing inferences from the brief and a mood board; concept sketching is done and is followed by drawing final concepts in full scale to better evaluate proportions.
•
These concepts are further visualized with materials using softwares like Adobe Illustrator. They are then discussed with the client for approval.
•
1:1 prototypes are manufactured at the in-house workshop and the design is further evaluated in terms of ergonomics, determining production problems, man hours involved, costing and budgeting, quality control and waste management.
•
Since it is a small team of both designers and manufacturers, there is a constant effort to optimize the production process. This includes procurement of material as well as flow of manufacturing when outsourcing to vendors. This helps not only to cut down costs but also to progress into a bigger and faster manufacturing unit for future projects. Fig 18: Types of chisels (carving tools)
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Studio’s Product Range Left to right: Soikea Bench, Mez stool, Soikea Chair
Left to right: Animal stools, Filet table, Animal Stool Rhituja Shende | Graduation Project | Kharaad | 33
CUSTOMER SEGMENT Functioning as a small scale manufacturer, the target market of Studio Chisel is currently limited to Hyderabad. This market can be classified into three types according to the kind of service provided.
INTERIOR + FURNITURE
CONSULTANCY
SMALL BATCH
The studio provides services for interior design. Subsequently there is a demand for furniture pieces by these clients. These products are ‘bespoke’ or customized to the customer’s need and taste. Hence only one or two pieces are made.
The studio helps to solve production problems and optimize the manufacturing process for a given design. This involves full scale prototyping and providing material or design solutions.
Having a small in house manufacturing unit, the studio produces batches of around 4-12 pieces per batch. These primarily consist of office and restaurant furniture.
Fig 19: User Persona I (Shocho from the Noun Project)
Fig 20: User Persona II (Shocho from the Noun Project)
Fig 21: User Persona III (Shocho from the Noun Project)
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MARKET APPROACH Chisel’s website essentially functions as a photo catalog of the company’s products as well as an inquiry platform to order the bespoke pieces. All the products have options to be customized with regards to the material and color. Merchandise is also sold through home decor stores like the Room Therapy. The rest of the clients are handled on a one to one basis, where the finished furniture pieces are delivered directly to the site.
ROOM THERAPY Room Therapy is a home decor store that offers a product range designed and manufactured in various parts of the country along with selected destinations abroad. Crafted to suit distinctive needs, the store has decorative accents to flaunt across varied categories- contemporary, weaves and traditional. Amidst the furniture category, are chairs, consoles, coffee-tables and chests that can give a classic touch to a space, while keeping it subtle.
Fig 23: Room Therapy, Hyderabad
Fig 22: Screenshot from the studio’s website
Fig 24: Chisel’s furniture at Room Therapy Rhituja Shende | Graduation Project | Kharaad | 35
Good design is a child of the past as well of the future -Elena miller
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WAY FORWARD FOR STUDIO CHISEL? While the studio explores opportunities to grow into a larger batch manufacturing unit, it simultaneously needs to establish a strong identity, especially a visual one, in the market. Being a small setup the studio’s product range is limited and hence it requires a definite narrative that complements its principles. Keeping in mind that resources and material are limited, it is favorable to explore existing materials and processes in newer ways and work within production capability.
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PROJECT • Methodology • Timeline • Integration into the studio • Proposal • The material • The process
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Methodology A design process helps efficiently guide the creative thoughts to a finished product. Solutions are rarely reached in a disorganized way. This project followed the given five- step process. It majorly consists of:
• • • • •
Understanding the studio’s design process Creating an apt brief Research Ideation and Testing Validation
Statement
The process goes back and forth between the last three stages till the desired outcome is reached. Working within a required time- frame is crucial for the proper execution of each project. This form of orderly approach helps manage and complete the project on time. Fig 25: Adapted from Researchgate Publication
SITUATION
Of Manufacturing
Design Concept
EVALUATION
INVESTIGATION Information Gathering
Of Outcome
REALIZATION
POSSIBLE SOLUTION Building Confidant
Prototyping
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Working Drawings
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Integration into the studio The initial 2-3 weeks were dedicated to understand the studio’s methodology, design process and project pace. This involved evaluation of older designs to simplify them. Participation in conceptualization and creating working drawings gave an overview of how projects are generally handled and presented to the client. It also helped in grasping the studio’s way of approaching a design brief. Fig 26: Design iterations for the headboard of a 4 poster bed for Studio Chisel.
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INITIAL BRIEF To design contemporary products by exploring the versatility of a traditional process in the furniture industry, using conventional and radical approaches to the process. The furniture range aims to supplement market presence for the studio by highlighting the studio’s aesthetics and extending product category to meet the demands of the contemporary market.
Project Scope •
Understand a conventional process in the furniture making industry
•
Construct a radical approach to help utilise the process in new ways
•
Manage work within manufacturing capacities
•
Understand salability of products to supplement the studio’s market presence
•
Studying contemporary designs contemporary market demands
to
meet
THE MATERIAL Studio Chisel extensively uses Birch ply. Sourced from Bangalore, these ply sheets are 8’ x 4’ in size and available in 9mm, 12mm, 15mm, 16mm, 18mm, 25mm thicknesses. Birch is a popular fine-grained wood. It is commonly used for home improvement projects, particularly cabinet making, desks, and shelves. It is also popularly used in making children’s toys (especially dollhouses), playground fixtures, and sports and musical equipment. Using birch ply as the primary material for this project was an informed decision for the following reasons: 1. Ease of procurement/ availibility 2. Favorable material properties 3. Rare use in the target market 44 | Kharaad | Graduation Project | Rhituja Shende
Pros
Cons
Aesthetic Advantage
No intricate grain pattern
Strength Advantage
Lack of character
It is perfect for home furnishings as it has a nice, rich sheen, and it gives the end product a nice, elegant finish. It allows you to customize the end product; leave it untreated or have it stained. It can also be worked and smoothed over, or it can be left as it is.
It’s known for its durability. The process of forming the birch plywood reinforces the strength of the original piece of wood. The ply sheets formed are usually dimensionally stable and can be machined with ease.
Even though Birch does come with a nice smooth and pale finish, and this adds a touch of elegance to the wood and the finished product, the end grain of the ply sheet is not considered very appealing.
Fig 27: Surface texture of birch ply
Birch plywood does not have an intricate grain pattern, so it is often considered to be plain or even dull.
Difficulty finishing
Safety Advantage
Birch is notoriously difficult to stain. A board that has a nice, attractive grain pattern can end up with dark, splotchy areas it is stained.
It does not have many knots or jagged edges. It is smooth and is not known to splinter or crack. This makes it the wood of choice for cabinet (and other furniture) makers as well as toy makers. In fact, it is ideal for any child-friendly construction.
Price Advantage
It is good to look at, safe, and strong, without being too heavy on the wallet. In fact, it is easily available at cost-effective prices. It is popularly used in combination with more expensive hardwoods.
Environmental Advantage
It is an abundant, fast-growing species. This means that there is no destruction or disruption of biodiversity when birch is felled.
MATERIAL choice Fig 28: End grain of birch ply
Chisel is a relatively young studio. Working extensively with Birch ply, there is a need for a new style that reflects the studio’s material- process driven design methodology, consequently enhancing its market presence. Birch ply is rarely used in the furniture market in Hyderabad. The studio’s prior usage of the material gives a head-start with regards to handling and the basic understanding of the material. Hence Birch ply was chosen as the primary material for this project.
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Exploring the pattern The end grain of the ply is not often shown as it is not very appealing. But as different contours are carved onto the ply, the end grain reveals a pattern that can be further explored to add character to the design. A full scale prototype of a chair was designed to understand this pattern. Fig 29: Close up of the chair’s pattern
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Pieces of birch ply were stuck for the legs. These pieces need atleast 24 hours to dry after which they can be turned on the lathe. The cross tie members had carved ends that tapered into a tenon. The carving revealed a pattern at these ends. The backrest started from a 3 inch block of several 18 mm birch ply stuck. A rough contour was shaped using a grinder. The final shape was carved only after the legs were attached to the backrest to ensure that the form of the legs flush into the backrest. Images: Prototyping process for the chair
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This prototype of a chair made completely from birch ply was a crucial learning experience. It helped build dexterity to handle birch ply as a material. It makes it easier to understand the way the grain pattern surfaces. Making a full scale model helped assess the structure the design. This helped lay foundation for the final designs. Images: Full scale prototype and details
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the vendors
Fig 30: Dinanathji at the Chisel workshop
Fig 31: Metalwork done at Sattar bhai’s workshop
BASIC CARPENTRY
METAL WORK
The in-house workshop for the studio has a team of 2-3 carpenters, 2-3 painters and a few apprentices. Together, this team works on small batch production of upto 10- 15 furniture pieces.
The metal vendors provide services like cutting, drilling, welding, bending. Another vendor provides metal turning service.
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Fig 32: Ahmedji at the turning workshop
Fig 33: V. S. Tech Automation
TURNING
CNC
The wood vendors provide carving, cutting and turning services. They usually work with MDF to produce decorative jaalis, and with teak for creating turned products typically legs, pillars, gavels, etc.
The use of CNC is limited to small batch production rather than bespoke pieces, to cut down manufacturing costs. Primarily 3 axis CNC machines services are used by the studio.
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Finalizing the Process Woodturning has such incredible potential in furniture, beyond its purely decorative and ornamental uses. This project is an effort to look for uses of the age old craft of woodturning in non traditional applications that readdress its utilization in furniture. Moreover in reference to Chisel’s market and product expansion, opting turning is an informed decision as:
1. The studio hasn’t yet explored the process of turning. 2. The lack of explorations of ply turning in the target market. 52 | Kharaad | Graduation Project | Rhituja Shende
WOODTURNING HISTORY Turning is typically a ‘material- removal’ machining process in which a cutting tool, typically a non-rotary tool bit, describes a helical tool path by moving more or less linearly while the workpiece rotates. The archaeological record of woodturning is limited to illustrations because wood is a fiber prone to rot. Between 500 and 1500 A.D., turned wooden vessels served as the everyday bowls and cups of most of the population of Europe. Much of this ware was turned from green wood on a spring pole lathe. Finely crafted drinking bowls, known as mazers were produced in very limited quantities from dry wood, then decorated with silver-gilt central bosses and rims. Woodturning skills were used by pattern makers in the making of prototypes and shapes for casting molds used in foundries during the 19th and 20th century. Woodturning has always had a strong hobbyist presence. In the 1970s, an explosion of interest in hobby woodturning in the English-speaking world sparked a revival in the craft. In brightistic time, i.e. in the last centuries B.C., woodturning became generally accepted in the antique world more and more. History of woodturning, Bernhard Nepelius
The end of woodturning? The period of Pro-moterism (approximately around the turn of the century circa 1920) saw a certain supersaturation with forms taking place. Furthermore there was increasing mechanization leading to copying milling and automatic lathe that almost caused the end of the handcraft.
Clockwise from above: Fig 34: An improved luffing lathe Fig 35: 1611, British Mazer Fig 36: Drechsler, depiction (c. 1425) Fig 37: Egyptians with Fiedelbohrer
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Fig 38 : A carved stone pictograph from the tomb of an Egyptian Priest. 300 B.C
The origin of turning dates to around 1300 B.C. when the Egyptians first developed a two-person lathe. The Egyptian lathe is based on a stone carving which may be the earliest pictorial representation of a lathe. Artifacts as early as the 7th century B.C. have been found which appear to have marks consistent with having been turned.
54 | Kharaad | Graduation Project | Rhituja Shende
Fig 39: A Persian turner using a bow lathe
Fig 40: A spring pole lathe circa 1390
The Romans improved the Egyptian design with the addition of a turning bow. Early bow lathes were also developed and used in Germany, France and Britain.
In the Middle Ages a pedal replaced hand operated turning. The system today is called “spring pole lathe� and was commonly used into the early 20th Century.
Fig 41: Engine lathes produced by Geo. W. Fifield at Lowell, Mass., USA
Fig 42: A CNC Lathe in a modern setting
Fig 43: An electric lathe
During the industrial revolution the lathe was motorized, allowing wooden turned items to be created in less time and allowing the working of metal on a lathe. The motor also produced a greater rotational speed, making it easier to quickly produce high quality work.
Today most commercial lathes are computer-operated allowing for massproduction that can be created with accurate precision and without the cost of employing craftsmen.
A continuous revolution in lathe design, led to adaptation to external power sources such as water, steam, and electricity. The lathe evolved into the ‘queen of machine tools’ which made it possible to turn parts for other machinery.
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As a Handicraft Wood turning and lacquer craft is a traditional craft of India, which dates back to antiquity. This art must have been known even in ancient India, for Panini (500 B.C.) uses the word Jatu= lac (the resin) and Jatusa= lacquer (lac applied to wooden objects in turnery). This craft is done in many parts of India. In each part, there is a different story behind its evolution, the needs out of which it took shape, the processes followed by craftspeople, the products made and their application. DICRC Report: Kharadi Kaam, ISSUU
Fig 44: Hoshiarpur, Punjab
Material: Sheesham, Deodar, Mango, Tun, Kaal Products: peerahs, tables, lamps, baby walker, Gajras, fancy boxes, vases, candle stands, toys and animal figures
Fig 45: Kota, Rajasthan
Material: Safeda Products: toys, dandiya, belan
56 | Kharaad | Graduation Project | Rhituja Shende
Fig 46: Kachchh, Gujarat
Material: Babool, Mango Products: kitchenware, toys, charpai
Fig 47: Varanasi, U.P
Fig 48: Bhopal, M.P.
Fig 49: Bangalore, Karnataka
Fig 50: Vishakhapatnam, A.P.
Material: Kahema, Eucalyptus, Chapra Products: Sindora, teethers, toys
Material: Kutaja (Wrightia Tinctoria) Products: toys, tops, car seat rests, cooking setss, bangles, games
Material: Sagwan, Dudhi Products: kitchenware, toys, decorative boxes, shelves, baby walkers
Material: Ankudu wood Products: toys, jewelery, bridal boxes, stationery, kitchenware, tableware, furniture Rhituja Shende | Graduation Project | Kharaad | 57
WOODTURNING tools Most of the work is done by hand-machine coordination. A variety of hand tools are used to cut and shape the wood. These include chisels, gauges,hammers, awl and snappers. Hand or band saws are used to prepare the wood to be turned. In addition, sand paper, leather and even wood shavings are used in the final finishing. These tools need to be finished and cleaned after every few years and need to be sharpened after every few pieces. A grinding wheel is attached to the end of the lathe. Since it rotates along with lathe, the turner can sharpen the tools without stopping the machine. Fig 51: Tools used by Raju Bhai
58 | Kharaad | Graduation Project | Rhituja Shende
Name Raju Bhai Service Wood cutting and turning Name Ahmed ji
Equipment Bandsaw and Lathe
Service Wood carving and turning
Lathe size limit Min: 1” dia 3” length Max: 12” dia 4’ length
Equipment Bandsaw, Lathe, Hand tools
Products Pillars, Legs, gavels
Lathe size limit Min: 2” dia 5” length Max: 12” dia 5’ length Products Pillars, Legs, Jaalis, Ornamental fixtures
Questionnaire asked Q. Which materials do you primarily work with?
Q. Have you turned ply before?
Q. What type of products do you make? Ans. Pillars, gavels, bowls
Q. What are some of the hazards associated with turning? Ans. Breathing dust, wood splitting, swarf injuries, tool can get caught
Q. Do you know about other types of turning like off centerd/ elliptical? Ans. No
Q.Any operations that are harder to carry out? Ans. Hollowing
Ans. Sagwaan, Pine wood, Brass, Mild Steel, Aluminium and Copper
Ans. No
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Tool and Types of cut Most of the work is done by handmachine coordination. A variety of hand tools are used to cut and shape the wood. These include chisels, gouges, hammers, awl and snappers. Hand or band saws are used to prepare the wood to be turned. In addition, sand paper, leather and even wood shavings are used in the final finishing.
Spindle roughing gouge: • • •
Used to quickly remove stock Optimal for turning a square or off-center piece round. Doesn’t leave the best finish
Spindle gouge: • •
Ideal for shaping and creating details Used to create coves, beads and other details.
Skew Chisel: • •
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Great for planing, for a smooth surface Optimal for planing wood and leave a glassy smooth, flat surface.
Parting tool: • •
Separates work from unwanted material Generally is introduced to the wood in a plunge cut.
Bowl Gouge: • • •
Shapes the inside and outside of a bowl U-shaped bowl gouges are used for reaching the bottom with smooth cuts. V-shaped bowl gouges can be used for roughing, finishing, and detail bowl work.
Scraper: These tools need to be finished and cleaned after every few years and need to be sharpened after every few pieces. A grinding wheel is attached to the end of the lathe. Since it rotates along with lathe, the turner can sharpen the tools without stopping the machine. The working piece, prior to turning, is called a ‘blank’.
• • •
Optimal for leaving a smooth surface finish Also used to remove cutter marks left by bowl gouge. A round nose scraper removes marks on the inside of a bowl, while a square nose scraper is used on the outside, as well as boxes and other flat surfaces.
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Types of WOODTURNING
Fig 52: Segmented Turning- Iranian (Facebook)
Fig 53: Burn line, Turning For Profit
Fig 54: Japanese wooden massage ball (1801- 1900)
Segmented TURNING
Grooving
Ball & Socket
The initial workpiece is composed of multiple gluedtogether parts. The process involves gluing up several pieces of wood to create patterns and visual effects in turned projects. Segmented turning is also known as polychromatic turning.
The process of reducing the diameter by cutting indentations into the workpiece is called grooving. This operation can be done externally as well as internally. Threading is a type of grooving in which the grooves are cut in a helical manner.
Scooping out material from the workpiece to create either concave or convex surfaces produces forms that fit into and roll along each other. The rounded form is called a ball and the depression onto which it rolls is called a socket.
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Fig 55: Diamond ornament, David Reed Smith
Fig 56: Badger tool, Hunter Tool Systems
Fig 57: Charpai, Paimona Handcrafted Furniture
Inside Out
Hollowing
Transitions
The process involves gluing pieces together ad turning a contour. The glued pieces are then taken apart, flipped (inside-out) and glued again. The workpiece is then mounted on the lathe to turn the outer form.
The process of removal of material from the workpiece (typically internally) to create a hollow form is called hollowing. It is one of the more difficult operations Objects like vases and bowls are the most common products that use this operation.
The technique of transition is most commonly used in traditional turning. It is most evident in Charpai legs which showcase the transition of the leg from a polygonal section to a round section wherein the flat facets allow straight surfaces for ease of joinery.
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Segmented Turning Exploration I • Possible to make pieces larger than amount of wood available • Hence end grain turning is avoided • Produces patterns • Shapes are stable as grains can be arranged favorably • Incorporate different materials
Disadvantages • Requires accurate planning and material prep • Requires additional tools and labor • All wood segments need to be solid, without any knots or flaws
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Steps 1. Divide the object’s contour into sections along the height. 2. Measure each section to obtain radius for polygons 3. Cut ply segments to create the polygonal sections 4. Assemble all sections; each alternate section is turned by a definite degree to vary the final pattern 5. Attach ply pieces on either ends to enable mounting the piece on the lathe for turning 6. Let the assembled piece dry for atleast 24 hrs Fig 58: Sections of objects contour
Types • Open segmented: the arrangement of the segments are assembled further apart to leave uniform gaps. Te final turned piece then becomes perforated. • Closed Segmented: The segments are assembled end to end without leaving gaps. The picture shown here is a closed segmented turning.
Fig 59: Assembled polygonal blank
Fig 60: Segmented turned piece Rhituja Shende | Graduation Project | Kharaad | 65
66 | Kharaad | Graduation Project | Rhituja Shende
Fig 61: 3D visualization of side table
Fig 62: 3D visualization of the high stool Rhituja Shende | Graduation Project | Kharaad | 67
Grooving Exploration II • The grooves can allow movement along them • Differently, they can receive a cable/ rope/ string • The grooving operation can be carried out both ways; along the length of the blank or on the face of the piece.
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Fig 63: Specimen of a grooved piece (grooves on the face) found at one of the vendors.
Fig 64: A play of light and shadow; the grooves let the light pass, giving off interesting shadows
Fig 65: Two identical pieces were turned such that the grooves fit into each other.
Fig 66: This enables the pieces to roll against each other. This is one functional aspect of this operation. Rhituja Shende | Graduation Project | Kharaad | 69
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Fig 68
Fig 69
Fig 70
Steps Fig 67
Exploration III 1. Cut identical pieces of the ply. 2. Face concentric grooves on each piece. 3. Trim an off-centered square from each of these grooved blocks. 4. Assemble these trimmed squares to create a textured pattern. Fig 67 is the tessellating unit and Figs. 68, 69, 70 are three possible tessellations
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Exploration IV: A metal component (shown below) was prototyped in aluminium. The choice of material was changed from birch ply to metal to check tolerance of the operation and doable size. Machined on a lathe, the component has stepped grooves on one side and tapers into a bolt like section. Concepts were iterated where the component has been used as a joinery element. Dimensions: 50mm x 50mm x 60mm
Fig 71
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Fig 72
Fig 73
Fig 74: 3D visualization of a stool with metal component used as joinery
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Ball & Socket Exploration V • Rotation along more than one axis • Thus can be used to change direction
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Inside Out Exploration VI • Enables to create through and through hollow forms • Is aesthetically very pleasing as the turned piece is axially symmetrical
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Steps 1. Mount the blank on the lathe and turn the contour that will lie inside the hollow form. (Fig 75)
2. Then cross cut the turned piece into 4 identical parts. (Fig 76)
3. Flip each piece by 180 degrees such that the outer corners now are positioned at the center of the piece. (Fig 77)
4. Join the pieces with a permanent adhesive. 5. Additionally, if an outer contour needs to be turned, then join the pieces temporarily with a strong tape. Fig 75
Fig 76
6. Mount this piece again and turn the contour that forms the outer curve. 7. Once the desired form is achieved, join all the pieces using a permanent adhesive.
Fig 77
Fig 78
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Fig 79: 3D visualization of lamp in 3 variable sizes
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Fig 80: Exploration of inside out turning; Table leg
Fig 81: 3D visualization of center table Rhituja Shende | Graduation Project | Kharaad | 79
Hollowing Exploration VII • The hollow forms provide for storage • Even though the volume looks bigger the final piece can be lightweight after removal of material
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Fig 82
Fig 83
Fig 84
Fig 85
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82 | Kharaad | Graduation Project | Rhituja Shende
Fig 86: Top view of exploration created
Fig 87: 3D visualization of the arrangement
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Transitions Exploration VIII • Merge different sections i.e. in a single piece, the sections can transform from a polygon like square or a triangle to a circle • Hence straighter faces can be left in areas to attach joinery
Fig 88: Form explorations in transition for legs
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Patterns The linear arrangement of the end grain produces a specific pattern on turning. To study possible different patterns, various ply grain arrangements were created and their patterns were further visualized in 3D software
Fig 89: Pattern explorations by changing arrangement of end grain
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Fig 90: 3D visualization of the chair
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A 1:1 prototype of a stool / side table was iterated using the turned legs and a turned circular disc. Dimensions: 12” x 12” x 18”
Fig 91: Full scale prototype of turned seat/ table top
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Fig 92: Detail of the furniture piece
Fig 93: Full scale prototype of turned legs in birch ply
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Dimensions: 4” x 4” x 18”
Fig 94: Two pieces of the above leg form were turned.
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Fig 95: Each piece was further sliced into two parts.
Fig 96: Each piece can now be treated as a leg.
Fig 97: 3D visualization of the side table
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STEP 1: The turned piece (dimensions: 6” x 6” x 6”) is cut into a hexagon and the hexagon is further divided into three parts.
STEP 2: The central piece does not serve much purpose. The three remaining identical parts are rearranged to form iterations
STEP 3: The pieces are flipped inwards and joined together
STEP 4: A plan view shows an interesting pattern of contour lines
STEP 5: The form obtained through this can be iterated further into a wall hanging accessory, knobs, desk accessory, etc.
STEP 6: The individual parts were conceptualized as support structures connecting the table top and the legs. Furthermore, one turned piece can generate 3 pieces.
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Fig 98: 3D visualization of the center table
Fig 99: Using the grooved component as a joinery element Rhituja Shende | Graduation Project | Kharaad | 93
Type vs Use
Segmented
Grooving
Ball & Socket
Inside Out
Hollowing
Transitions
Pros
Bigger Structures
Texturing
Mechanically functional
Hollow forms
Hollow forms
Various sections in the same piece
Cons
Time consuming and Labour intensive
Operation restricted due to tolerance
Hard to achieve accuracy
Time consuming and Labour intensive
Size restricton
Shape restricted
To create larger objects
Movement/ Joinery Movement, Joinery
To create through and through hollow forms
To create bowls, vases, boxes
To produce curved and flat surfaces in the same piece
Vases
Legs, Candle stand
Lamp, Stool, Seating
Surface
To create patterns on surfaces
Allows another part to move within the groove and be guided by it
Products
Vases, Bowls
Handles, legs
Can Make
Chair, Stool
Height adjustability, Screen/ partition, lamp
Typically
Examples
94 | Kharaad | Graduation Project | Rhituja Shende
Mechanical Joinery Ornaments, candle stands Lamp
Legs, Storage, Handles, Accessory
Possibility
• Segmented
• Grooving
• Transitions
Form
Function
• Hollowing
• Ball and Socket
• Inside Out
Difficulty
Fig 97
Feasibility The above feasibility chart (fig 97) of Do-ability vs Utility indicates that the second quadrant is the most favorable. Hence Segmented Turning and Transition Turning were chosen to take forward for further explorations. Rhituja Shende | Graduation Project | Kharaad | 95
C.M.F Four explorations were treated with stains to retain the end grain pattern. Two of the pieces were finished with a glossy polish and two with matte polish. Comparing all options, matte finish was chosen to take forward. It was also decided to leave the ply uncolored.
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Fig 100: Four explorations were created to test pattern formation and color iterations.
Fig 101: Since the patterns need to be shown, the stains were diluted to test transparency. Multiple coats were added and compared at each stage. Since none of the color iterations were appealing, colorful stains were discarded.
Fig 102: Matte finish was chosen for the final products.
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98 | Kharaad | Graduation Project | Rhituja Shende
Product development • Detail Drawings • Costing • Process description
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100 | Kharaad | Graduation Project | Rhituja Shende
Accent Chair Merrily we roll along Roll along...Roll along... Merrily we roll along Over the deep blue sea... The accent chair in the Kharaad series fuses together the circular and the straight. Featuring a circular backrest and drawing inspiration from Scandinavian design, it is a light weight chair that can be multipurposed as a dining chair or a desk chair.
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Sketches
Fig 103: Initial ideation created using Adobe Illustrator
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Rhituja Shende | Graduation Project | Kharaad | 103
1. Cross elevations are assembled first using half lap joint. The side ties are then attached with simple dowel joinery.
2. The seat height and outer dimensions need to be checked before solidifying the joints with adhesives.
4. The legs are carved to occupy the backrest contour.
5. Finally the entire piece is assembled with adhesive. The seat is attached with Lbrackets after upholstery.
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3. The seat contour is carved out of the cross tie members to help lay the seat flat.
Fig 104: Birch ply 12 mm; Matte finish
Process/ Stage
Labour involved and Time Duration
Storing
2 people involved
Cutting
2 people involved- cutting material for one chair takes approximately 3-4 hours
Sticking
1 person involved- sticking material for one chair takes approximately 45-60 mins (drying takes 1 day)
Turning and Shaping
1 craftsperson involved- shaping components for one chair takes approximately 3- 4 hours
Upholstery
1 person involved- upholstering one chair takes approximately 1-2 hours
Assembly of Elements
2 people involved- assembly of one chair takes approximately 4-5 hours
Sand- Papering
1 person involved- finishing one chair takes approximately 1 hour
Staining
1 person involved- staining one chair takes approximately 15 to 30 mins
Polishing
1 person involved- polishing takes approximately 15 to 30 mins
Packaging/ Storing
2 people involved
Transporting
1 person involved
Fig 105: Blue upholstery
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HARDWARE S. No. 1. 2. 3.
Nylon Glides: Nail on
4.
Adhesive: Fevicol SH Resin
5.
Adhesive: Araldite 2 part epoxy
1.21"
0.75"
0.75"
Nos. 2 4 4
82
°" 84
4.53"
°"
13.00"
16.00"
Description Backrest: Threaded rod 12mm dia, 3" Seat: L brackets 1"
17.00"
25.59"
PLAN
CROSS TIE ELEVATION
STUDIO CHISEL 378 Green Valley, Banjara Hills Hyderabad, Telangana 500873 +91 77022 99975 hello@studiochisel.com
11.50"
PROJECT: Kharaad ( Turned Birch ply series)
95
°"
STATUS:
18.55"
NOTE:
2.50"
13.00"
15.00"
18.00"
1.50"
25.25"
28.20"
32.23"
COMPLETED
0.5"
0.75"
14.00"
20.00"
16.00"
FRONT ELEVATION
106 | Kharaad | Graduation Project | Rhituja Shende
SIDE ELEVATION
DRAWING NO.
AC-01
DESIGN BY:
Rhituja Shende
DRAWN BY:
Rhituja Shende
DATE:
4 / 08 / 2019
SCALE:
1:10
COMPONENTS S. No. 1. 2.
1
2
6.50"
16.00"
0.25" thick upholstery 4.50"
"
00
5.
R
4.50"
Description
Nos.
Backrest: Birch Ply, Upholstery: 0.25" Seat: Flexiply 25 mm, Upholstery 2"
1 1
3.
Cross tie member: Birch ply
2
4.
Side tie member: Birch ply
2
5.
Back legs: Birch Ply
2
6.
Front legs: Birch Ply
2
Readymade flexiply seat
PLAN
0"
.0
R3
3.00"
5.00"
7.00"
0.25"
17.00"
STUDIO CHISEL 378 Green Valley, Banjara Hills Hyderabad, Telangana 500873
PLAN 1" 16.50"
2"
2" upholstery foam
2.00"
FRONT
SIDE
+91 77022 99975 hello@studiochisel.com
FRONT
1.05"
0.75" 6.42"
3.32"
7.63"
3.25"
1.00"
4
3
0.50"
PROJECT:
0.75"
Kharaad ( Turned Birch ply series) 18.50"
STATUS:
SECTION
COMPLETED 1.00"
5 1.50"
28.25"
R1.00
NOTE:
SECTION
"
FRONT
15.00" SECTION
1.50"
6 23.17"
1.00"
0.75"
1.00"
3.00"
73°" PLAN
DRAWING NO.
AC-02
DESIGN BY:
Rhituja Shende
DRAWN BY:
Rhituja Shende
DATE:
4 / 08 / 2019
SCALE:
1:10
Rhituja Shende | Graduation Project | Kharaad | 107
EXPLODED VIEW S. No.
Description
Nos.
STUDIO CHISEL 378 Green Valley, Banjara Hills Hyderabad, Telangana 500873 +91 77022 99975 hello@studiochisel.com
PROJECT: Kharaad ( Turned Birch ply series) STATUS: COMPLETED NOTE:
108 | Kharaad | Graduation Project | Rhituja Shende
DRAWING NO.
DT-03
DESIGN BY:
Rhituja Shende
DRAWN BY:
Rhituja Shende
DATE:
4 / 08 / 2019
SCALE:
1:10
TYPE
RATE (INR) incl. of GST
QUANTITY
AMOUNT (INR)
Birch ply 12 mm ( 8’ x 4’)
120/- per sqft
19.5 sqft
2340/-
Turning
400/-
-
400/-
CNC
1000/-
-
1000/-
Carpentry (incl. labour)
700/-
-
700/-
Upholstery (incl. labour)
1000/-
-
1000/-
Polish (incl. labour)
700/-
-
700/-
Miscellaneous
1000/-
-
1000/-
TOTAL
7140/-
Fig 106: Estimated costs for the accent chair
PART
LENGTH
WIDTH
NO. OF 12 mm PLY/
BRASS
QUANTITY
Back legs
30
1.75
4
-
2
Front Legs
17
1.75
4
-
2
Side Tie Member
20
1.25
3
-
2
Cross Tie Member
25
3.5
2
-
2
Backrest
20
9
9
-
1
Fig 107: Cutlist for the accent chair
All sizes in inches unless specified otherwise
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110 | Kharaad | Graduation Project | Rhituja Shende
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112 | Kharaad | Graduation Project | Rhituja Shende
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Specifications Dimensions: 18” x 21” x 33” Material: Birch Ply Price: INR 10,000 /-
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Dining CHAIR “Oh, that’s great, blame it on the little guy. How original. He must’ve read the schedule wrong with his one eye.” - Mike Wazowski The dining chair in the Kharaad series takes forward the circular aesthetic and further simplifies the backrest. It features Brass accents that not only to lend an ornate character to the piece but also is a structural tie member between the backrest and legs.
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Fig 108: Components of the dining chair
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1. The frame of the dining chair is similar to the accent chair 2. The backrest contours are turned and a groove is made for the 3. A cutout of the back’s negative is held against the turning piece wherein the cross elevations are assembled first using half lap upholstery to fit into. to check the shape of the contour. joint.
4. All he brass parts are later buffed to obtain a brushed finish, 5. The groove that occupies the brass pipe and attaches it to the 6. All parts were finished with a matte polish coat. just before assembly. backrest is made using a core box router bit.
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Fig 109: Birch ply 12 mm; Matte finish
Process/ Stage
Labour involved and Time Duration
Storing
2 people involved
Cutting
2 people involved- cutting material for one chair takes approximately 3-4 hours
Sticking
1 person involved- sticking material for one chair takes approximately 45-60 mins (drying takes 1 day)
Turning and Shaping
1 craftsperson involved- shaping components for one chair takes approximately 3- 4 hours
Upholstery
1 person involved- upholstering one chair takes approximately 1-2 hours
Assembly of Elements
2 people involved- assembly of one chair takes approximately 4-5 hours
Sand- Papering
1 person involved- finishing one chair takes approximately 1 hour
Staining
1 person involved- staining one chair takes approximately 15 to 30 mins
Polishing
1 person involved- polishing takes approximately 15 to 30 mins
Packaging/ Storing
2 people involved
Transporting
1 person involved
Fig 110: Grey upholstery
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HARDWARE S. No. 1. 2.
0.75"
0.75"
Nos.
3.
Nylon Glides: Nail on
4.
Adhesive: Fevicol SH Resin
5.
Adhesive: Araldite 2 part epoxy
3 4 4
86
84
°"
1.87"
16.00"
7.39"
1.69"
24.58"
Description Backrest: Flat Head No. 8 WS 50 mm Seat: L brackets 1"
°"
25.14"
17.00"
PLAN
STUDIO CHISEL 378 Green Valley, Banjara Hills Hyderabad, Telangana 500873
CROSS TIE ELEVATION
13.50"
+91 77022 99975 hello@studiochisel.com
0.50"
PROJECT: Kharaad ( Turned Birch ply series) 95
°"
5.38"
STATUS:
NOTE:
13.00"
2.50"
0.625"
0.625"
15.00"
18.00"
23.38"
28.25"
19.69"
1.47"
29.38"
35.36"
COMPLETED
14.25"
20.19"
15.00"
FRONT ELEVATION
122 | Kharaad | Graduation Project | Rhituja Shende
SIDE ELEVATION
DRAWING NO.
DC-01
DESIGN BY:
Rhituja Shende
DRAWN BY:
Rhituja Shende
DATE:
4 / 08 / 2019
SCALE:
1:10
COMPONENTS S. No.
1 7"
1.00"
1.25"
12.00"
1.
2
0.50"
2.
16.00"
R
"
00
5.
0.25" UPHOLSTERY
1.25"
7.50"
Readymade flexiply seat
.
R3
0.25"
12.00"
BACK CURVE CONTOUR
2.25" SIDE
FRONT
" 00
17.00" PLAN
1.03" 3.36"
7.61"
73°"
4
PLAN
0.75"
1.00"
1
3.
Cross tie member: Birch ply
2
4.
Side tie member: Birch ply
2
5.
Metal Cap: Brass (brushed finish)
2
6.
Back legs: Birch Ply
2
7.
Front legs: Birch Ply
2
8.
Backrest support: Brass (brushed finish)
1
STUDIO CHISEL 378 Green Valley, Banjara Hills Hyderabad, Telangana 500873 +91 77022 99975 hello@studiochisel.com
18.50"
3.00"
1
FRONT
0.75"
2.83"
1.00"
7.03"
0.50"
0.75"
Nos.
2" upholstery foam
2.00"
3
Description Backrest: Birch Ply, Upholstery: 0.25" Seat: Flexiply 25 mm, Upholstery 2"
SECTION
R1.0
0"
0.70"
22.01"
PROJECT:
6
0.67"
23.39"
Kharaad ( Turned Birch ply series) 1.00"
FRONT 1.50"
28.25"
SECTION
STATUS: COMPLETED
7 0.4"
1.00"
0.2"
NOTE:
1.50"
5
15.00" SECTION
1.5" FRONT
1.15" 1.5"
8
0.5"
3"
0.2" 0.12"
0.6"
0.4" 0.2"
0.2" 0.177"
1.25"
THREADED
(scaled up for visibility)
0.4" 1.1"
SIDE
SECTION
(scaled up for visibility)
(scaled up for visibility)
13.50"
0.50"
15.00" FRONT
SIDE
DRAWING NO.
DC-02
DESIGN BY:
Rhituja Shende
DRAWN BY:
Rhituja Shende
DATE:
4 / 08 / 2019
SCALE:
1:10
Rhituja Shende | Graduation Project | Kharaad | 123
EXPLODED VIEW S. No.
Description
Nos.
STUDIO CHISEL 378 Green Valley, Banjara Hills Hyderabad, Telangana 500873 +91 77022 99975 hello@studiochisel.com
PROJECT: Kharaad ( Turned Birch ply series) STATUS: COMPLETED NOTE:
124 | Kharaad | Graduation Project | Rhituja Shende
DRAWING NO.
DT-03
DESIGN BY:
Rhituja Shende
DRAWN BY:
Rhituja Shende
DATE:
4 / 08 / 2019
SCALE:
1:10
TYPE
RATE (INR) incl. of GST
QUANTITY
AMOUNT (INR)
Birch ply 12 mm ( 8’ x 4’)
120/- per sqft
13 sqft
1560/-
Brass
700/-
-
700/-
Turning
500/-
-
500/-
Metal Work
400/-
-
400/-
Carpentry (incl. labour)
700/-
-
700/-
Upholstery (incl. labour)
1000/-
-
1000/-
Polish (incl. labour)
700/-
-
700/-
Miscellaneous
1000/-
-
1000/-
TOTAL
6560/-
Fig 111: Estimated costs for the dining chair
PART
LENGTH
WIDTH
NO. OF 12 mm PLY/
BRASS
QUANTITY
Back legs
30
1.75
4
-
2
Front Legs
17
1.75
4
-
2
Side Tie Member
20
1.25
3
-
2
Cross Tie Member
25
3.5
2
-
2
Backrest
12
12
5
-
1
Backrest support
15
1.25 dia
-
Pipe
1
Metal cap
0.6
1.5 dia
-
Rod
2
Leg to Backrest joint
3
12 mm
-
Rod
2
Fig 112: Cutlist for the dining chair
All sizes in inches unless specified otherwise Rhituja Shende | Graduation Project | Kharaad | 125
126 | Kharaad | Graduation Project | Rhituja Shende
Rhituja Shende | Graduation Project | Kharaad | 127
128 | Kharaad | Graduation Project | Rhituja Shende
Rhituja Shende | Graduation Project | Kharaad | 129
Specifications Dimensions: 18” x 21” x 36” Material: Birch Ply, Brass Price: INR 10,000 /-
130 | Kharaad | Graduation Project | Rhituja Shende
Rhituja Shende | Graduation Project | Kharaad | 131
132 | Kharaad | Graduation Project | Rhituja Shende
Dining Table “Noughts And Crosses... It’s a tie” The dining table in the Kharaad series is proposed as a four seater. It features similar Brass accents that form the support system for the glass table top. It also features contrasting forms of tie members; a circular ‘O’ ring and a cross ‘X’ tie.
Rhituja Shende | Graduation Project | Kharaad | 133
134 | Kharaad | Graduation Project | Rhituja Shende
Rhituja Shende | Graduation Project | Kharaad | 135
1. A jig boring machine was used to drill holes at an angle of 6 degree.
2. The metal was assembled with the ring an inch off the ground. All the positions were minutely measured before welding.
3. The base metal was M.S. which was later polished with golden paint to look like brass.
4. The cross tie were joined using a half lap joint.
5. The holes in the legs were created using a hand drill.
6. All parts were assembled with adhesive and afterwards finished with a matte polish coat.
136 | Kharaad | Graduation Project | Rhituja Shende
Process/ Stage
Labour involved and Time Duration
Storing
1 person involved
Cutting
2 people involved- cutting material for one table takes approximately 45-60 mins hours
Sticking
1 person involved- sticking material for one table takes approximately 45-60 mins (drying takes 1 day)
Turning and Shaping
1 craftsperson involved- shaping components for one table takes approximately 30-45 mins
Assembly of Elements
2 people involved- assembly of one table takes approximately 3-4 hours
Sand- Papering
1 person involved- finishing one table takes approximately 30-45 mins
Staining
1 person involved- staining one table takes approximately 15- 20 mins
Polishing
1 person involved- polishing takes approximately 1530 mins
Packaging/ Storing
2 people involved
Transporting
1 person involved
Fig 113: Birch ply 12 mm; Matte finish
Fig 114: Brass
Rhituja Shende | Graduation Project | Kharaad | 137
HARDWARE S. No.
Description
Nos.
1.
Tabletop: Glass 12mm
2 4
2.
Nylon Glides: Nail on
3.
Adhesive: Fevicol SH Resin
4.
Adhesive: Araldite 2 part epoxy
ELEVATION
STUDIO CHISEL 378 Green Valley, Banjara Hills Hyderabad, Telangana 500873
30.00" 42.00"
+91 77022 99975 hello@studiochisel.com
PLAN
PROJECT:
STATUS:
1.00"
1.50"
4.00"
1.50"
Kharaad ( Turned Birch ply series)
0.75"
COMPLETED
22.25"
30.00"
25.50"
1"
NOTE:
29.69" 34.60"
ELEVATION
138 | Kharaad | Graduation Project | Rhituja Shende
DRAWING NO.
DT-01
DESIGN BY:
Rhituja Shende
DRAWN BY:
Rhituja Shende
DATE:
4 / 08 / 2019
SCALE:
1:10
COMPONENTS S. No.
2.
Legs: Birch ply
4
3.
Cross tie member: Birch ply
2
5.
4
Nos.
1.
4.
1
Description Support Ring: Brass pipe, 1" 16 g
Table support: Brass (brushed finish) Tie support: Brass (brushed finish)
1
4 1
5
1.00"
84°"
SECTION
STUDIO CHISEL 378 Green Valley, Banjara Hills Hyderabad, Telangana 500873 +91 77022 99975 hello@studiochisel.com
30.00"
PLAN
PROJECT: 12 mm
Kharaad ( Turned Birch ply series)
1.50"
2.50"
2
2.25" 25.50"
SECTION
COMPLETED
12 mm
0.75"
1.50"
1.00"
3
13.75"
1.50"
STATUS:
NOTE: 13.75"
Details 4 and 5 are in mm
29.00"
SECTION
DRAWING NO.
DT-02
DESIGN BY:
Rhituja Shende
DRAWN BY:
Rhituja Shende
DATE:
4 / 08 / 2019
SCALE:
1:10
Rhituja Shende | Graduation Project | Kharaad | 139
EXPLODED VIEW S. No.
Description
Nos.
STUDIO CHISEL 378 Green Valley, Banjara Hills Hyderabad, Telangana 500873 +91 77022 99975 hello@studiochisel.com
PROJECT: Kharaad ( Turned Birch ply series) STATUS: COMPLETED NOTE:
140 | Kharaad | Graduation Project | Rhituja Shende
DRAWING NO.
DT-03
DESIGN BY:
Rhituja Shende
DRAWN BY:
Rhituja Shende
DATE:
4 / 08 / 2019
SCALE:
1:10
TYPE
RATE (INR) incl. of GST
QUANTITY
AMOUNT (INR)
Birch ply 12mm ( 8’ x 4’)
120/- per sqft
15.5 sqft
1860/-
Brass
1220/-
-
1220/-
Glass 8mm 42” dia
1000/-
-
1000/-
Turning
500/-
-
500/-
Metal Work
600/-
-
600/-
Carpentry (incl. labour)
700/-
-
700/-
Polish (incl. labour)
500/-
-
500/-
Miscellaneous
1000/-
-
1000/-
TOTAL
7380/-
Fig 115: Estmated costs for the dining table
PART
LENGTH
WIDTH
NO. OF 12 mm PLY/
BRASS
QUANTITY
Legs
27
2.75
6
-
4
Tie Member
31
1.75
4
-
2
Support Ring
120
1” dia (16 g)
-
Pipe
1
Table Support
16.5 mm
60 mm dia
-
Rod
4
Table Support Rod
6
12 mm dia
-
Rod
4
Tie Support
12 mm
60 mm dia
-
Rod
2
Tie Support Rod
57 mm
12 mm dia
-
Rod
1
Fig 116: Cutlist for the dining table
All sizes in inches unless specified otherwise
Rhituja Shende | Graduation Project | Kharaad | 141
142 | Kharaad | Graduation Project | Rhituja Shende
Rhituja Shende | Graduation Project | Kharaad | 143
144 | Kharaad | Graduation Project | Rhituja Shende
Rhituja Shende | Graduation Project | Kharaad | 145
Specifications Dimensions: 42� (4 seater) Material: Birch Ply, Brass Price: INR 12,000 /-
146 | Kharaad | Graduation Project | Rhituja Shende
Rhituja Shende | Graduation Project | Kharaad | 147
148 | Kharaad | Graduation Project | Rhituja Shende
Lounge Chair “Mirror, mirror On the wall...� - Snow White and the 7 dwarfs The lounge chair in the Kharaad series slightly breaks away from the roundish aesthetic of the series. The decorative side panels carry forward the end grain detail. The overall form is boxy, balanced by the curves of these side panels.
Rhituja Shende | Graduation Project | Kharaad | 149
150 | Kharaad | Graduation Project | Rhituja Shende
Rhituja Shende | Graduation Project | Kharaad | 151
HARDWARE S. No.
Nos.
1.
4
2.
Nylon Glides: Nail on
4
3.
Adhesive: Fevicol SH Resin
4.
Adhesive: Araldite 2 part epoxy
24.00"
R
3.
00
"
21.51"
Description Legs: Wooden dowel
STUDIO CHISEL 378 Green Valley, Banjara Hills Hyderabad, Telangana 500873
25.00"
+91 77022 99975 hello@studiochisel.com
PLAN
25.00"
4.50"
PROJECT:
5.03"
10.00"
8.00"
1"
Kharaad ( Turned Birch ply series)
3" upholstered cusion
1"
19.00"
3.00"
3.00"
18.00"
3.00"
PENDING NOTE:
18.44"
25.00"
FRONT ELEVATION
152 | Kharaad | Graduation Project | Rhituja Shende
4.50"
2.00"
3.00" 11.00"
23.00"
1" chamfer
STATUS:
DRAWING NO.
LC-01
24.00"
DESIGN BY:
Rhituja Shende
SIDE ELEVATION
DRAWN BY:
Rhituja Shende
DATE:
4 / 08 / 2019
SCALE:
1:10
COMPONENTS 1
S. No.
2 .0
0"
"
0.50"
0.75"
0.75"
R2
.00
R3
21.50"
0.50"
15.50"
0"
.0
R3
°"
96
3.75" 24.00"
3.75"
2
7.
Side tie: Birch Ply
2
8.
Side panel: Birch Ply
8
1" chamfer
0"
SIDE VIEW
3.50"
3.50"
1.00"
0.69"
3.50"
3.50"
0.75"
1.25"
4 2.25" 3.50"
SIDE VIEW
STUDIO CHISEL 378 Green Valley, Banjara Hills Hyderabad, Telangana 500873
3.50"
+91 77022 99975 hello@studiochisel.com
FRONT VIEW
1.50"
0.50"
3
1.00"
FRONT VIEW
3.50"
3.50" 2.25"
5
75°"
20.50"
15.00"
1.00"
PLAN
PROJECT:
11.40"
SECTION
1.50"
ELEVATION
SECTION
Kharaad ( Turned Birch ply series)
0.50"
0.50"
STATUS:
19.50"
PENDING
7
0.50"
0.94"
R
0.50"
6
"
0 2.0
0.50"
10.00"
15.50" 11.00"
4
1.00"
"
3.50"
1
0.50"
19.00"
1.55
0.50"
1.00"
Centre tie member: Birch ply Legs: Birch Ply Seat cushion: Ply, Upholstery 3"
.0
17.45"
PLAN 1.50"
2
6.
25.00"
0.37"
1
Back support: Birch ply
5.
R3
1.00"
EXPLODED PLAN
2. 3.
3.75" 3.70"
5.37"
3.75"
0"
R1.0
1
Seat: Birch ply
4.
5.40"
16.50"
18.18"
3.75" 24.00"
5.50"
3.75"
3.75"
0.37"
Nos.
1.
2.10"
0.75"
15.5"
Description Handrest: Birch Ply
0.75"
SIDE
0.75"
1.50"
2.00" 11.00"
75°"
4.98"
19.00"
1.14"
PLAN
4.00"
23.00"
SIDE
18.44"
.00
0.50"
5.00"
FRONT
NOTE:
17.34"
R2
1.20"
3.00"
0.50"
7.50"
0.50" 9.50"
0.75"
0.50"
11.00"
8
1.50"
PLAN
22.00"
FRONT
FRONT
"
FRONT VIEW
DRAWING NO.
LC-02
DESIGN BY:
Rhituja Shende
DRAWN BY:
Rhituja Shende
DATE:
4 / 08 / 2019
SCALE:
1:10
Rhituja Shende | Graduation Project | Kharaad | 153
EXPLODED VIEW S. No.
Description
Nos.
STUDIO CHISEL 378 Green Valley, Banjara Hills Hyderabad, Telangana 500873 +91 77022 99975 hello@studiochisel.com
PROJECT: Kharaad ( Turned Birch ply series) STATUS: PENDING NOTE:
154 | Kharaad | Graduation Project | Rhituja Shende
DRAWING NO.
LC-03
DESIGN BY:
Rhituja Shende
DRAWN BY:
Rhituja Shende
DATE:
4 / 08 / 2019
SCALE:
1:10
Rhituja Shende | Graduation Project | Kharaad | 155
156 | Kharaad | Graduation Project | Rhituja Shende
Conclusion • Experience • Image Credits • Bibliography • Webography
Rhituja Shende | Graduation Project | Kharaad | 157
158 | Kharaad | Graduation Project | Rhituja Shende
Experience This graduation project has been one eventful journey. It started in December when I first joined a design firm in Noida. It was a hasty decision. Fearing the pressure, I wanted to start the project as early as possible, only to realize that I was not satisfied with the brief and the nature of work. It brought down my morale to leave my only safe option and struggle to find a new opportunity. Studio Chisel came as a silver lining after almost two to three months of project finding. Hence I am grateful to have gotten a chance to work with them. These six months have helped me grow as an individual and as a working professional. There is a stark difference between design as a discipline and design as a profession. Being a small startup, my project at Chisel gave me a first hand experience of the entire process. As an active participant at each stage, be it research, talking to vendors or prototyping, revealed the efforts that go behind the functioning of the business. One can no longer look at furniture as just a product. Each piece holds within itself a story, a journey, that constantly pushes our ideas, beliefs and approach towards design. Having said that, I now strive to reinvent the process and subsequently extend the learning curve. And if you are a final semester student reading this, be assured that yours too will be an awesome journey!
Rhituja Shende | Graduation Project | Kharaad | 159
Image Credits Images mentioned here are copyright of the respective owner or organization. Rest of the images are owned and clicked by the author of this document unless specified otherwise.
http://nid.edu/institute/history-background.html http://www.studiochisel.com/ https://www.lifestyleasia.com/kl/travel/destinations/check-hyderabad-city-nizam-pearls-palaces/ https://www.seattletimes.com/business/ikea-woos-indias-rising-consumer-class-tapping-new-markets/ https://solidbench.com/ http://studiowood.co.in/ https://www.nsquarestudio.com/ https://www.josmostudio.com/ https://www.materialimmaterial.com/ https://borderline.studio/ http://www.pocholiving.in/ http://www.tectonagrandis.in/ https://www.facebook.com/designnidukaan/ https://www.designpataki.com/room-therapy-hyderabad/ https://chestofbooks.com/home-improvement/workshop/turning-mechanical/section-i-the-indian-persian-arabian-and-other-lathes-the-chinese-lathe.html https://www.historicgames.com/lathes/springpole.html http://vintagemachinery.org/mfgindex/imagedetail.aspx?id=4497 https://ramanagara.nic.in/en/district-produce/handicraft/ https://gaatha.com/budni-lacquer-craft/ https://scroll.in/article/875002/toymakers-of-chitrakoot-struggle-to-craft-a-living-as-children-increasingly-switch-to-modern-toys https://madeinkachchh.wordpress.com/tag/lac-turned-wood/ https://www.tradeindia.com/hoshiarpur/wooden-handicrafts-city-196103.html https://www.betterhomeindia.com/product/kanha-sankheda-ghodiyu/ https://www.facebook.com/segmentedturning/ https://www.turningforprofit.com/woodturning-2/ https://collection.sciencemuseumgroup.org.uk/objects/co125799/turned-massage-ball-encased-in-turned-socket-massager http://www.davidreedsmith.com/articles/diamondornament/diamondornament.htm http://huntertoolsystems.com/badger-overview-new/ http://m.paimona.co/product/charpai-bench/
160 | Kharaad | Graduation Project | Rhituja Shende
webography https://issuu.com/dicrc/docs/dholka_final_report_1.09.2014 https://www.sciencedirect.com/topics/engineering/manufacturing-process https://www.researchgate.net/publication/307858235_arts_and_design_ studies_understanding_the_furniture_design_process_in_ghana https://www.researchgate.net/publication/307858235_arts_and_design_ studies_understanding_the_furniture_design_process_in_ghana https://www.nkrealtors.com/blog/hyderabad-architecture-makes-it-uniqueindian-city/ https://hbr.org/2012/02/just-how-important-is-manufact https://bernhard.nepelius.at/en/woodturning-jigs-manuals-techniques/ history-of-woodturning/
Bibliography Nutassey, kennedy & agyei-boakye, isaac & quayson, ebenezer. (2014). arts and design studies understanding the furniture design process in ghana. Ranjan, M. P., and Aditi Ranjan. Handmade in India. Council of Handicraft Development Corporations, 2007. Evans, Harry T The craft of wood turning (2nd ed). Technical P, 1968. Woodbury, Robert S History of the lathe to 1850 : a study in the growth of a technical element of an industrial economy. M.I.T. Press, Cambridge, Mass, 1961.
Fonts Adobe fonts: The design village Calibri
Rhituja Shende | Graduation Project | Kharaad | 161
162 | Kharaad | Graduation Project | Rhituja Shende